Portraits of Constantijn Huygens (1596-1687).

As a companion site to the Portraits of Christiaan Huygens the same approach will followed.
The first thing that strikes one when looking at the portraits of
Constantijn Huygens is the shear number of them.
One other thing to remember, is that one of the most distinguishing
features of Constantijn Huygens is absent in his portraits: i.e. the fact
that he had to wear glasses.

Portraits made during Constantijn's life time.

The number of portraits enables us to make distinctions based upon changes in clothing and hair style.

Collar types

1622-1632 stiff circular collars are worn,

1635-1647 lace collars with elaborate fringes (aka Van Dyck collars) appear
Notice that e.g. in the paintings that Rembrandt made in 1632 of Maurits Huygens and Jacques de Gheijn, Huygens wears a lace collar with fringes while De Gheijn still wears the classic model.
Also in The Anatomical lesson of dr Tulp that was painted that same year an assortment of different collars is onm display. A portrait by Thomas de Keyzer made in 1632 also shows a lace collar with elaborate fringes.

1647- these fringes disappear and are replaced by decorative tassels under the collar. Gradually the front of the collar increases in size (or so it seems).

Hear / Head gear

1622-1625 Huygens has his hair combed back,

1625-1630 keeps his hair hidden under a hat

1631-1635 his hair reappears much thinner showing his forehead until in

1635-1687 Huygens has his hair combed forward.

1639-1687 Huygens starts wearing a skull cap in until the end of his life.

1625 (14 * 11.5 cm.) Michael Jzn. Mierevelt (1567-1641) / engraving W. van Delff (1580-1638).
The Aº Diii MDCXXV is inconsistent with the Aetat. XXVII suggesting that the original was painted around 1623.
A smaller version (10 * 8 cm.) appeared in the first edition of the Otiorum libri XI published in 1625 by Arnold Meurs.
1626/7 (99 * 84 cm., oil on wood) Jan Lievens (1607-1674), Collection Musée de la Chartreuse, Douai on a long term loan to the Rijkmuseum, Amsterdam (signature: SK-C-1467).
Discovered in 1935. On April 5, 1632 Huygens writes the following poem:

Note that this is within a month after he made three poems on the engraving by Pontius of the portrait by van Dijck.
1627 (92.4 * 69.3 cm., oil on wood) Thomas de Keyzer (1596/7-1667), The National Gallery, London.
1632/1645 (24.5 * 17.1 cm., engraving) painting A van Dijck (1599-1541, Ant. van dyck pinxit) / engraving by Paulus Pontius (1603-1658, Paul. Ponsius Sculp.).
The engraving is part of collection of portraits that was first issued in 1645 under the title Iconographia.
The portraits however were of a much earlier date. On January 28, 1632 Huygens notes: 'Pingor a Van Dyckio, cum
arbor in aedes lapsus esset'.
On March 11, 1632 Huygens wrote three poems:

1639/40, (206 * 174.5 cm, oil on canvas) of Constantijn Huygens and his children by
Adriaen Hanneman (1604-1671). Mauritshuis, The Hague.
Formerly the boy on left of Constantijn sr was 'recognized' as Christiaan.
However the place on the right of a father, which to the viewer is the left side,
was traditionally reserved for the eldest son i.e. Constantijn jr..
This meant that the son on his left (his right side to the viewer) had to be Christiaan.
The empty medallion at the bottom contains the text

See OC XXII pp. 395-396, for a discussion about the identification of Christiaan in the Hanneman painting.
In OC XXII p. 396 it is suggested that the poem is by Constantijn jr.
This seems to be in conflict with the poem's title In Effigiem Meam Quinque Liberorum Vultibus Cinctam that is omitted on the print.
Source: collection G.M. Duijvestein, Voorburg.
1840, (15 x 18 cm, lithography) by F.B Waanders (1809-1880) / lithography by C.M. Mensing.
Taken from the first volume of the the art journal 'De Kunstkronyk' (1840-1841). It copies the painting by Hanneman, that according to the text on the print, was at that time attributed to A. van Dijk. See also entry 1817.
Source: collection G.M. Duijvestein, Voorburg.
1897 (h? * b? cm., bronze (statue) and stone (base)) by A.W.M. Od? (1865-1955). Signed: "A.W.M. Odé jnv.".
Was originally located at the corner of the Scheveningseweg and the Verhuëllweg (now professor B.M. Teldersweg).
Was removed during WWII and was in June 1953 relocated to the Ary van der Spuyweg in The Hague.
Inscription at the front of the base.

CONSTANTYN
HUYGENS
1596-1687

1928 J. H. Isings (), Een zomermiddag met de Muiderkring (1628)
Huygens' head seems to be derived from the 1625 Mierevelt portrait with a little goattee from the 1627 Thomas de Keyzer portrait.
The collar seems to be incorrect, as this type was not yet around in 1628.
1996, (h? * b?, bronze) by Hans Bayens (1924-2003). Constantijn en Christiaan Huygens. Park Vreugd en Rust. Voorburg.
To commemorate the tricentenary of Christiaan's death (1695) and
the quadricentenary of Constantijn sr's birth (1596), in Voorburg
a foundation was formed. It was this foundation that commissioned
this National Huygens monument. Afterwards it also instituted the annual 'Christiaan
Huygens Award'.
1996, (33 mm, silver) by Willem J. Vis (fish beneath '87' obverse).
To commemorate the quadricentenary of Constantijn sr's birth (1596) a
silver 20 Euro coin was issued. It shows Huygens (based on the 1641
Mierevelt painting) with a goose quill and a musical key refering to his
literary and musical talents, the country estate Hofwijck and a ship that is copied after 'de Zeven Provinci?n' the flagship of Michiel de Ruyter.
The ship alludes both to Huygens diplomatic travels and to 'Het schip van Staat' as mentioned in Huygen's Scheepspraet.
Huygens coins of 5, 10, 50 and 100 Euro were also issued.